515 West 24th Street
New York, NY 10011
212 206 9300

Also at:
530 West 21st Street
New York, NY 10011
212 206 7606

130 East 64th Street
New York, NY 10065
212 753 2200
Artists Represented:
Ricci Albenda
Richard Aldrich
Allora & Calzadilla
Kai Althoff
Miroslaw Balka
Matthew Barney
Robert Bechtle
Alighiero Boetti
Kasper Bosmans
Ian Cheng
Claudia Comte
Carroll Dunham
Cecilia Edefalk
Roe Ethridge
Cyprien Gaillard
Maureen Gallace
Keith Haring
Thomas Hirschhorn
Jim Hodges
Huang Yong Ping
Cameron Jamie
Anish Kapoor
Pierre Klossowki
Sol Lewitt
Sharon Lockhart
Andrew Lord
Sarah Lucas
Victor Man
Robert Mapplethorpe
Fausto Melotti
Mario Merz
Marisa Merz
Wangechi Mutu
Jean-Luc Mylayne
Shirin Neshat
Damián Ortega
Philippe Parreno
Elizabeth Peyton
Walter Pichler
Magnus Plessen
Richard Prince
R. H. Quaytman
Ugo Rondinone
Mimmo Rotella
Gedi Sibony
Amy Sillman
Jack Smith Archive
Walter Swennen
Vivian Suter
Rosemarie Trockel
Banks Violette
Alfredo Volpi
Paloma Varga Weisz
Andro Wekua
T. J. Wilcox
Michael Williams
Works Available By:
Dan Flavin
Lucio Fontana
Gilbert & George
Donald Judd
Mike Kelley
Martin Kippenberger
Sigmar Polke
Gerhard Richter
Dieter Roth
Robert Ryman

 
Current Exhibitions

Keith Haring

515 West 24th Street
New York, NY 10011

November 3, 2018 - December 21, 2018

Victor Man

Flowering Ego

130 East 64th Street
New York, NY 10065

November 1, 2018 - December 22, 2018

 
Past Exhibitions

Ugo Rondinone

drifting clouds

515 West 24th Street
New York, NY 10011

September 22, 2018 - November 3, 2018

Ugo Rondinone

drifting clouds

530 West 21st Street
New York, NY 10011

September 22, 2018 - November 3, 2018

Banks Violette

130 East 64th Street
New York, NY 10065

September 15, 2018 - October 27, 2018

Vito Acconci, Paul Chan, Sharon Hayes, Barbara Kruger, and Rirkrit Tiravanija

Voice of America

515 West 24th Street
New York, NY 10011

June 29, 2018 - July 27, 2018

SAFE

130 East 64th Street
New York, NY 10065

June 28, 2018 - July 27, 2018

Andrew Lord

unslumbrous night

130 East 64th Street
New York, NY 10065

May 11, 2018 - June 16, 2018

Huang Yong Ping

530 West 21st Street
New York, NY 10011

April 28, 2018 - June 9, 2018

Carroll Dunham

515 West 24th Street
New York, NY 10011

April 20, 2018 - June 16, 2018

Robert Bechtle

130 East 64th Street
New York, NY 10065

March 10, 2018 - April 21, 2018

Robert Mapplethorpe

Robert Mapplethorpe: Curated by Roe Ethridge

515 West 24th Street
New York, NY 10011

March 3, 2018 - April 14, 2018

Cyprien Gaillard

Nightlife

530 West 21st Street
New York, NY 10011

February 23, 2018 - April 21, 2018

Amy Sillman

Mostly Drawing

130 East 64th Street
New York, NY 10065

January 26, 2018 - March 3, 2018

Kasper Bosmans

Chip Log

515 West 24th Street
New York, NY 10011

January 18, 2018 - February 24, 2018

Alfredo Volpi

130 East 64th Street
New York, NY 10065

November 4, 2017 - December 22, 2017

Richard Prince

Ripple Paintings

515 West 24th Street
New York, NY 10011

November 3, 2017 - December 22, 2017

Thomas Hirschhorn

DE-PIXELATION

530 West 21st Street
New York, NY 10011

October 28, 2017 - January 13, 2018

Walter Swennen

bewtie

515 West 24th Street
New York, NY 10011

September 15, 2017 - October 28, 2017

Rosemarie Trockel

Plus Quam Perfekt

130 East 64th Street
New York, NY 10065

September 13, 2017 - October 28, 2017

Cameron Jamie

Domestic Arenas: Massage the History, BB, Kranky Klaus

530 West 21st Street
New York, NY 10011

April 28, 2017 - June 17, 2017
Gladstone Gallery is pleased to present an exhibition of three films by artist Cameron Jamie, spanning a decade of work. This installation marks the first time that Jamie has programmed these films, including BB (1998-2000), Kranky Klaus (2002-2003), and Massage the History (2007-2009), to focus on the theme of the home as a site of intersection between public and private rituals. In each of these works, the proximity to his subjects allows him to reveal the uncanny in the cultural fabric. Finding subject matter in diverse fields of play—from the suburban backyards of Los Angeles, to the living rooms of the American South and Alpine villages of Central Europe—these three works investigate the ritualized performativity of violence, arcane tradition, and sexuality. Moving between interior and exterior spaces, the film program traces a mental map connecting rites of passage in different cultures. Additionally, rock bands The Melvins and Sonic Youth, who have expanded the language of rock music, provide hallucinatory soundscapes that are an integral aspect of the films. Massage the History records amateur dancers, whom Jamie found accidentally online, who freely engage the quotidian domestic scene with their own sexually suggestive movements. Unintended for an actual audience, the automatic nature of their body language evolves from an intimate spectacle into a dreamlike scenario of transcendence through onanistic desire. BB captures the semi-choreographed brawls of Southern Californian teens who mimic the movements seen on popular TV wrestling shows. Shot on Super-8, Jamie’s film transforms their raw makeshift arena into a social theater of primitive adolescent vaudeville. The rock drone soundtrack provided by The Melvins creates an atemporal space that simultaneously unravels and builds toward its Wagnerian conclusion. Kranky Klaus documents the pagan Christmas celebration of the Krampus—a menacing devil/monster character—in the Alpine villages of Austria’s Bad Gastein Valley where St. Nicolas leads participants costumed in horns and fur in a sanctioned ritual of harassment. The film becomes a morality play exploring the cultural symbiosis of good and evil and how violence socializes through performances of cathartic abuses. Cameron Jamie was born in Los Angeles in 1969 and has lived in France since 2000. Jamie will be the subject of a forthcoming retrospective at MAC Lyon in 2018. Presently, he is featured in The Absent Museum at Wiels, Brussels and was most recently included in The Infinite Mix at the Hayward Gallery in 2016. Jamie has been the subject of museum surveys at the Kunsthalle Zurich (2013) and the Walker Art Center, Minneapolis (2006), traveling to the MIT List Visual Arts Center. Jamie has been featured in film festivals and major group exhibitions including Traces du sacré at Centre Georges Pompidou (2008), the Berlin Biennial (2010), the Whitney Biennial (2006), the Venice Biennale (2005), and the 2015 Lyon Biennale. In 2008 Jamie was the first recipient of the Yanghyun Prize and in 2016 was awarded the Daniel and Florence Guerlain Art Foundation prize for drawing.

Wangechi Mutu

Ndoro Na Miti

530 West 21st Street
New York, NY 10011

January 27, 2017 - March 25, 2017
Gladstone Gallery is pleased to present an exhibition of new work by Wangechi Mutu. The title for this exhibition comes from the Gikuyu words for mud and trees, the prima materia for this body of work. Expanding her sculptural practice, this installation proposes an alternative to the systemic modes of representation in both Western and Eastern traditions by reimagining and recontextualizing the relations between the body, the natural world, and social forces. Well known for collages of hybrid forms drawn from folklore, popular culture, and art history, this new work marks an evolution in Mutu’s critique of the construction of self-image. The complex texture and form that these figures offer prompt inquiry into the relationship between human existence and environment, producing interactions both intimate and challenging. Mutu transforms the gallery space into a terrestrial cosmology that spans the microscopic to the mythic. Drawn from the dirt and brush in areas around her studio, she conjures a world replete with chimerical paradox. Faces of women, ornamental footwear, and patterned spheres evoking viruses emerge from natural materials that elaborate on the traditions of makonde carving. Embracing the raw physicality of her surroundings, she mobilizes the earth as a continuation of her own complex intersectional identity and artistic query. Adding gravity to these roughhewn totems, each invokes the psychic and social struggle for control over bodies through capitalism, the fetish, and disease. Seating of grey blankets grounds the installation, inviting audiences “to enter a place and re-think themselves.” This environment sets the stage for two new cast bronze sculptures that directly confront the myths of representation. A large-scale sculpture of an nguva, a water-woman of East African folklore, is at once familiar and otherworldly. Based on the transformation of the aquatic dugong, an herbivore closely related to the manatee, into the siren of superstition, Mutu staves off the disappearance of biological diversity and traditions of mythmaking by coalescing what she calls “the cross-pollination of ideas” into objects of desire. In another work, Second Dreamer (2016), she challenges the stasis of the bust and the appropriation of African masks through a self-portrait that captures the potential of psychic life. In this way, Mutu’s sculpture acts as a corrective to a violent cultural consciousness, while offering an alternative narrative of embodiment and being in the world. Born in Nairobi, Kenya, Wangechi Mutu received her MFA from Yale University. Her work has been the subject of numerous solo shows, including, “Wangechi Mutu: A Fantastic Journey”, which traveled to: Brooklyn Museum, New York; Nasher Museum of Art, Durham, North Carolina; Museum of Contemporary Art North Miami; and Block Museum, Evanston, Illinois. Other solo exhibitions include: SITE, Santa Fe; Museum of Contemporary Art, Sydney; Musée d’Art Contemporain de Montréal; Deutsche Guggenheim, Berlin; Wiels Center for Contemporary Art, Brussels; Art Gallery of Ontario; Museum of Contemporary Art, San Diego; Kunsthalle Wien; and San Francisco Museum of Modern Art. Mutu is the recipient of Deutsche Bank’s “Artist of the Year” award, the Louis Comfort Tiffany Foundation Grant, the Joan Mitchell Foundation Painters & Sculptors Award, and the American Federation of Arts’ Leadership Award. In the coming year, Mutu will present solo exhibitions at Museum Dhondt-Dhaenens, Deurle, Belgium and The Contemporary Austin, Texas.